Matt Gingold is a transdisciplinary artist weaving together art, science and critical theory.

My research focuses on creating intimate and revealing experiences of – and with – technology. Often fusing installation and performance, my artworks experiment with the uncertain boundaries of synthetic sentience, alien intelligence, machine being/s, and the ever-increasing automation of life.

I am primarily concerned with collective, emotional and enchanted relationships to technology and how these interact with the oft-hidden history of science as (and of) labour surveillance and cognitive control. Most recently this has clustered around investigations into automata, neuroscience, computer vision and machine listening.

My work has been commissioned and presented worldwide, including by Ars Electronica (AT), Tokyo Biennial (JP), Club Transmediale (DE), ANTI Festival (FL), Seoul Festival (KR); and in Australia, MONO/FOMA, Art Gallery of Western Australia, Perth Institute of Contemporary Art, the National Portrait Gallery of Australia, Melbourne Museum, Sydney Theatre Company, Malthouse Theatre and the Melbourne, Adelaide and Sydney International Arts Festivals.

Career highlights include working on multiple projects that have received Prix Ars Electronica Awards, getting a Green Room Award for Best Video Design, being a Lumen Prize Finalist and undertaking residencies at Symbiotica (AU), Asia Cultures Center (KR), Ars Electronica Futurelab (AT) and Werklietz (DE) as part of the European Media Art & Exchange Program.

My research into algorithmic choreography and generative AI has been supported through fellowships at Simon Fraser University (CA, 2012-2014) and the Open University (UK, 2017-2018) and I have a Bachelor of Media Arts from the Royal Melbourne Institute of Technology (1999) and a Graduate Certificate of AI from Deakin University (2021).

Most recently Revivification (2025) – co-created with Guy Ben-Ary, Nathan Thompson and Stuart Hodgetts in collaboration with the late avant-garde composer Alvin Lucier (US) – will be showing at Now or Never in August 2026.

The work is situated within debates around human agency and generative AI, and attempts to posthumously extend Lucier’s artistic life by differentiating his donated blood cells into cerebral organoids – or ‘mini-brains’ – to create a new kind of biological performer that is able to transform ‘its’ neural activity into an ever-changing sonic performance.

Revivification is a compelling example of how risk-taking, material-led art can still happen in mainstream galleries. Dispatch Review

The science behind Revivification is state of the art. But the feeling it evokes – the wonder and anxiety, the moral tension– is centuries old. ABC News.

Awards, Residencies and Grants

Lumen Prize Finalist – Revivification (2025), Prix Ars Electronica, Artificial Intelligence & Life Art (2023) Award of Distinction (as creative producer, Sunlight, Soil & Shit, by Catts, Zurr & Berrick) and Honorary Mention (as programmer From Paradigm to Paradigm, into the Biomic Time, by Nandita Kumar 2023), Asia Culture Centre Residency, Gwangju, Korea (2023), Arts and Disability Mentorship Initiative, SymbioticA/Creative Australia (2021-22), Ars Electronica Creative Producers Program (2021), Club Transmediale Music Hacklab, Berlin (2019), Sonar Innovation Challenge, Barcelona (2016), Green Room Award — Best Video Design (Calpurnia Descending, 2015), European Media Art Residency & Exchange Program, Werkleitz Gesellschaft, Germany (2015), Prix Ars Electronica, Distinction — Interactive Art (as co-lead artist, It’s A Jungle In Here, 2012), Ars Electronica Artist-In-Residence, Novamedia/Australia Council, Linz, Austria (2012), Media-Lab Prado Interactivos?’12, Ljubljana/Slovenia (2012), Aphids’ Atelier Eden, Australia Council Arts Lab (2011), Aphids’ Tactical-Media Residency, Centre for Interactive Art/PVI, Perth WA (2009), InterLab Camp, ANAT/Yamaguchi Centre for Arts and Media (YCAM), Japan (2008)

National and International Arts Presenters

Art Gallery of Western Australia (WA), Ars Electronica (Austria), Tokyo Biennial (Japan), Asia Culture Centre (Korea), Seoul Festival (Korea), Werkleitz (Germany), Club Transmediale (Germany), ANTI Festival (Finland), Medialab-Prado (Madrid/Slovenia), Teatro Mayor (Colombia), MOCA Taipei (Taiwan), Expo Bicentenario (Mexico), Melaka Festival (Malaysia), OneArtSpace (New York), MONA/Festival of Music and Art (TAS), ACMI (VIC), Melbourne Museum (VIC), Perth Institute of Contemporary Art (WA), National Portrait Gallery of Australia (ACT), Malthouse (VIC), Sydney Theatre Company (NSW), Carriageworks (NSW), Brown’s Mart (NT).

Commercial Interactive Projects

Dynaikon, ABB Schweiz, Melbourne Museum, Australian Centre for the Moving Image, Australian Film Commission, Telstra/Sensis, CSIRO, Hoyts, Ontario Science Centre.

Linked In

Education

2020: Graduate Certificate in Artificial Intelligence, Deakin University, Australia.

2017-18: Research Fellow (Computer Vision, HUI, Machine Learning), The Open University, United Kingdom.

2012-14: Research Fellow (Video, Dance, Machine Learning), Simon Fraser University (SFU), Canada.

1997-99: Bachelor of Media Arts with Distinction, Royal Melbourne Institute of Technology (RMIT) Australia.

Sound Installations

2025: Revivification (with Guy Ben-Ary, Nathan Thompson, Stuart Hodgetts, in collaboration with Alvin Lucier), Art Gallery of Western Australia, (Perth AU 2025); Now or Never (Melbourne AU 2026).

2023: Absent Orkestra, Asia Culture Centre (ACC), Gwangju, Korea.

2023: Delay Orkestra, DADAA Gallery, Fremantle WA.

2023: Longing + Forgetting, FRAME: A Biennial of Dance, Abbotsford Convent, Melbourne VIC.

2021: Transitions (with Nathan Thompson), Fremantle Biennial, Perth WA.

2016: SuperVision, Trienniale der Moderne, Dessau, Germany.

2015: Phase Orkestra, Move.On. Festival, Werkleitz Gesellschaft, Germany.

2014: Filament Orkestra, Perth Institute of Contemporary Art, Perth WA.

Interactive, Video & Stage Productions

2014-15: Production & AV Design, The Experiment Sydney, Adelaide and Melbourne International Arts Festivals.

2014: AV Design/System, Culpurnia Descending (SistersGrimm) Malthouse & Sydney Theatre Company.

2014: FX Tracking & Projection System, Multiverse (Australian Dance Theatre) The Space, Adelaide SA.

2014: Director/Composer, ZeroZero (Tony Yapp, Yumi Umiumare) Melbourne International Arts Festival.

2013: AV System, Prompter (Sam Fox/Hydrapoesis) Arts House, Melbourne VIC.

2011: Director/Editor, Tomb (Balletlab) Museum of Old and New Art, Hobart, TAS.

2011: AV Design & Composer/Performer, Eulogy of the Living (Tony Yapp) Melaka Festival, Malaysia.

2011: It’s A Jungle In Here, Melbourne International Arts Festival (Prix Ars Electronica Distinction, 2012).

2012: Flying Falling Floating, Museum of Contemporary Art, Taipei, Taiwan.

2010: The Perfect Artist, National Portrait Gallery of Australia, Canberra ACT.

2009: Circuit 8, Melbourne Fringe Commission, simultaneously at 8 artist-run galleries, VIC.

2008: Video Design, The Zombie State (Daniel Schlusser) Melbourne University Theatre, Melbourne VIC.

2008: Video Design, Love Monkey (John-Paul Hussey & Kelly Ryall) Northcote Townhall, Melbourne VIC.

2007-11: AV Design/System, Great Wall of Books (Well Theatre) Touring: Macau, Mexico and Korea.

2007: Ghosts of the Uncivil Head, Bus Gallery, Melbourne VIC.

2006: AV Design/System, Ray of Glass Needles (P:Media Arts) Nextwave/Dancehouse, Melbourne VIC.

2006: That Pretty Little Thing You Can’t Ignore, Seventh Gallery, Melbourne VIC.

2005: ScreenTest, Australian Centre for the Moving Image, Melbourne VIC (with Keely O’Shannessy).

Creative Producing and Production Management

2022: Sunlight, Shit and Soil (Oron Catts, Ionat Zurr and Steve Berrick), creative producer for a multifaceted work exploring Agricultural Technology, including exhibition, documentary, themed dinner events and a symposium (SymbioticA/PS Art Studios, 2022).

2022: My Self in That Moment (Chamber Made), production manager for a hybrid electroacoustic and live voice work created for an ensemble of 49 networked tablets and a solo performer (Substation, 2022).

2021: Ars Electronica Creative Producers Program, international professional development program examining the roles, processes and ethics of creative producing for transdisciplinary practice.

2020: Nicholas Building Xmas Market, production management for annual Christmas Market at the iconic Nicholas Building in the Melbourne CBD.

2020: Artist* Led Economy, Nextwave/Blindside, production management for live streaming UBI symposium.

2020: Festival 23, Pavillion, media and public relations for premiere electronic art and music festival.

2019: Beyond the Valley, Background, bar area management for electronic music festival.

Employment

2004-2020: Creative | Technical | Production, Trace Media, freelance creative, technical and production services for performance, installation and events, including media art, audiovisual, lighting, installation and sound design, software engineering for real-time, embedded and interactive systems, technical, pr/communications and production management. In addition to cultural and scientific collaborations, commercial clients have included ACMI, Melbourne Museum, CSIRO, Hoyts Cinemas, Telstra, ABB Schweiz.

2018 -2019: AV/Lighting Development & Design, Tranzept GmbH, research and development of kinetic lighting experiences for clubs, festivals and installations, including hardware and software engineering of embedded LED, DMX, ArtNet, SACN and servo drivers (Berlin).

2017-2018: Lead Innovation Researcher and Programmer, Dynaikon, research and development of GPU accelerated computer vision, symmetry analysis and machine learning algorithms for human user interaction in the fields of dance, performance and gesture.

2004-2010: Technical Director, Experimenta Media Arts, organising insurance, transport and staffing for national and international tours, scoping commissions, consulting with artists, costing installations and major public projects, modifying and installing media artworks.

2003-2007: Teacher/Facilitator, ACMI Digital Storytelling, working with diverse community groups (eg., the deaf and blind, physically and mentally disabled, prisoners, at risk youth, sexual assault victims) to tell stories about their experience using digital tools.

2003-2009: Freelance VJ, many artists and venues, including Terriarki Anarki Saki (2003-7), First Floor (2003-6), Outpost (2006-9), Electundra (2005/8), Victorian Design Awards (2006), Melbourne International Arts Festival (2005/7) and the Big Day Out (2005-8).

1999-2000: Media Technology Officer, RMIT Library, scoping, deploying and servicing a 20 computer media-lab aimed at TAFE students studying in the media and design sectors.

1996-1998: Editor & Advertising Manager, Farrago Magazine, Melbourne University, advertising sales, editing, writing, design, photography, administration and the politics of free education.

Awards, Residencies and Grants

2025: Lumen Prize Finalist for Revivification

2023: Asia Cultures Centre, Futures of Listening Sound Residency, Gwangju, South Korea

2021-22: SymbioticA Residency, Arts and Disability Mentorship Initiative, Creative Australia, Perth AU

2019: Club Transmediale Hacklab, Berlin, DE

2016: Sonar Innovation Challenge, Barcelona, ES

2015: European Media Art Residency & Exchange Program, Werkleitz Gesellschaft, DE

2015: Green Room Award, Best Video Design Calpurnia Descending, AU

2012: Prix Ars Electronica, Distinction in Interactive Art (It’s a Jungle In Here), Austria

2012: Ars Electronica Artist-In-Residence, Novamedia/Australia Council, Linz, Austria

2012: Media-Lab Prado Interactivos?’12 Ljubljana, Ljudmila Slovenia.

2011: Atelier Edens, Aphids/OzCo Arts Lab.

2009: Aphids’ Tactical-Media Residency, Centre for Interactive Art/PVI, Perth WA

2008: InterLab Camp, ANAT/Yamaguchi Centre for Arts and Media (YCAM), Yamaguchi Japan

Sound Performances

2023: Mode Collapse, Asia Cultures Center, Gwangju KR.

2023: Why is the River Laughing, Tokyo Biennial JP.

2019: CTM Hacklab Performance, Hua2, Berlin DE.

Audio Visual & Lighting Performances

2015-2019: LED Installation & Performance, Station Endlos Klub (Halle) and at Feel, Artlake and Fusion Festivals, various locations, Germany.

2018: LED Installation & Performance, Tal der Verwirrung, Kater Blau, Berlin.

2017-2018: LED Installation, Bachstelzen/Stelzinger, Chaos Computer Club Congress, Leipzig.

2010: Roberto Morales, Live video, robotic instruments and audio-visual collaboration, Mexico.

2006: Black Arm Band, Director live camera, Melbourne International Arts Festival, Hamer Hall.

2006: Fusion Festival (Cabaret at the End of the World), Live video performance, Germany.

2003-4: Floating Point Curated live AV performance showcases, First Floor (with Keely O’Shannesy).

Commercial & Cultural Interactive Installation

2016: ABB Schweiz, two interactive installations for the corporate re-branding gala event.

2013: Deep Listening, Melbourne Museum, Melbourne VIC (permanent installation)

2010: VoidLove Aphids Online video documentary exploring dark matter (http://voidlove.tv).

2008: Other People, AFC development of a video/social networking site.

2009: ScreenWorlds ACMI, VoD touch-screens about Australian screen cultures on exhibition until 2019.

2008: Trading Post, Telstra/Sensis, Help tutorial content and playback system.

2006: The Learning Federation, CSIRO, 6 learning components exploring physics for teenagers.

2005: Hoyts Cinema, PIVoD, VoD information touch-screen kiosks at premium Hoyts Cinemas.

2005: Ontario Science Centre, PIVoD, 6 interactive installations exploring physics for teenagers.

Installation & Technical Services

2008: Playground ++, Experimenta Media Arts, Sculpture Square, Singapore (ISEA).

2008: NEW ‘08, Australian Centre for Contemporary Art.

2007: Cinema Paradiso, Australian Centre for Contemporary Art.

2007-09: Playground, Experimenta Media Arts, Touring 6 national venues.

2007: Baby Love, Experimenta Media Arts, Carriageworks, Sydney; Awesome Festival, Perth.

2006-07: Vanishing Point, Experimenta Media Arts, Touring 11 national venues.

2004-05: House of Tomorrow, Experimenta Media Arts, Touring 9 national venues.

2006: Monkey Bear Robot, Australian Centre for the Moving Image.

2006: Visual Arts Program, Melbourne International Arts Festival, 45 Downstairs & SPAN Gallery

2006: Under the Radar, Experimenta Media Arts, FACT, Liverpool.

2006: Commonwealth ’06 (Brian Massumi), Australian Centre for the Moving Image.

2006: Kubrik (Camera construction), Australian Centre for the Moving Image.

2005: White Noise (Ryoji Ikeda), Australian Centre for the Moving Image.

2005-06: Picturing the Old People, Experimedia, State Library of Victoria; Lyndon Gallery.

2005: Playengines (Novamedia), Experimedia, State Library of Victoria.

2004: Seoul International Media Art Biennale, Museum Of Art, Seoul, South Korea.

2004: Biennial Electronic Arts Perth, various artists, John Curtin Gallery, Perth.

Audiovisual Consultation & Documentation

2011-16: Balletlab – documentation of After, Tomorrow, Aviary, Thumb, Miracle & Amplification.

2011: Secret/Sacred – 3D scanning and custom viewer for indigenous artifacts, Australian Museum.

2010-11: Gapuwiyak Calling – installation & video design for North East Arnhem Land community.

2010: Brown’s Mart (Darwin) – public art projection consultation for heritage theatre venue.

2009: ANZ Digital Screen – technical consultant for Docklands digital screen development.

2009: Daniel Crooks – technical consultation and render farm implementation.

2008: David Rozetsky – technical consultation and installation.

2006: Evolution of Fearlessness, Lynette Wallworth, Vienna.

2005: Cross Reference, Craig Walsh, Yokohama Triennial.